July 1957.Chicago Suburb I,1957
State Fair, Birmingham, Alabama USA,1972
Glass House Restaurant/McDonald’s - Vinita, Oklahoma
The McDonald’s over the Will Rogers Turnpike is the World’s Largest McDonald’s.
The 29,135-square-foot McDonald’s spans the Will Rogers Turnpike section of Interstate 44 near Vinita, Oklahoma, and is a notable example of a U.S. roadside restaurant.This particular McDonald’s was originally built when the turnpike opened in 1957 as one of the “Glass House” restaurants, owned by the now-defunct Interstate Hosts company. The “Glass House” also operated as a Howard Johnson’s restaurant at one point. Because of this heritage, it is also known as the Glass House McDonald’s and the McDonald’s Glass House Restaurant. It shares the space with a Phillips 66 gas station.
The building’s architecture is dominated by golden arches on both sides of the building that appear from a distance to be not only the corporate symbol of the chain, but the primary supports for a steel arch bridge structure over the turnpike. Visitors to the eatery exit from either side of the interstate, and then enter through one of the sides and then proceed to the restaurant level via stairs or an elevator.
The building and service plaza closed on June 4, 2013, for a complete renovation. The project is expected to take a year, but will reopen with a McDonald’s, Subway, and a rebuilt gas station.
Noche en Blanco. A pop-up potluck dinner with a thousand people dressed all in white in the middle of the street. Downtown Tucson, 2014.
Jurgen Schadeberg, a lesson in golf, from The Black & White Fifties in South Africa
Some songs cannot be contained. Transform your listening experience.
The Floor Scrapers (1875-6) Gustave Caillebotte
Original on top, later version below
"Despite the effort Caillebotte put into the painting, it was rejected by France’s most prestigious art exhibition, The Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a ‘vulgar subject matter.’
The images of the floor scrapers came to be associated with Degas’s paintings of washerwomen, also presented at the same exhibition and similarly scorned as ‘vulgar’”.
The Salon was stopping artists from being independent.”If you want to be recognized, better do it the way we appreciate it”. They rejected so many amazing works, labelling them as ‘vulgar’. The Floor Scrapers are not ‘vulgar’, they are beautiful.